egroj world: Charlie Parker • The Essential Charlie Parker

Sunday, June 2, 2024

Charlie Parker • The Essential Charlie Parker

 

 

Biography by Scott Yanow
One of a handful of musicians who can be said to have permanently changed jazz, Charlie Parker was arguably the greatest saxophonist of all time. He could play remarkably fast lines that, if slowed down to half speed, would reveal that every note made sense. "Bird," along with his contemporaries Dizzy Gillespie and Bud Powell, is considered a founder of bebop; in reality he was an intuitive player who simply was expressing himself. Rather than basing his improvisations closely on the melody as was done in swing, he was a master of chordal improvising, creating new melodies that were based on the structure of a song. In fact, Bird wrote several future standards (such as "Anthropology," "Ornithology," "Scrapple from the Apple," and "Ko Ko," along with such blues numbers as "Now's the Time" and "Parker's Mood") that "borrowed" and modernized the chord structures of older tunes. Parker's remarkable technique, fairly original sound, and ability to come up with harmonically advanced phrases that could be both logical and whimsical were highly influential. By 1950, it was impossible to play "modern jazz" with credibility without closely studying Charlie Parker.

Born in Kansas City, KS, Charlie Parker grew up in Kansas City, MO. He first played baritone horn before switching to alto. Parker was so enamored of the rich Kansas City music scene that he dropped out of school when he was 14, even though his musicianship at that point was questionable (with his ideas coming out faster than his fingers could play them). After a few humiliations at jam sessions, Bird worked hard woodshedding over one summer, building up his technique and mastery of the fundamentals. By 1937, when he first joined Jay McShann's Orchestra, he was already a long way toward becoming a major player.

Charlie Parker, who was early on influenced by Lester Young and the sound of Buster Smith, visited New York for the first time in 1939, working as a dishwasher at one point so he could hear Art Tatum play on a nightly basis. He made his recording debut with Jay McShann in 1940, creating remarkable solos with a small group from McShann's orchestra on "Oh, Lady Be Good" and "Honeysuckle Rose." When the McShann big band arrived in New York in 1941, Parker had short solos on a few of their studio blues records, and his broadcasts with the orchestra greatly impressed (and sometimes scared) other musicians who had never heard his ideas before. Parker, who had met and jammed with Dizzy Gillespie for the first time in 1940, had a short stint with Noble Sissle's band in 1942, played tenor with Earl Hines' sadly unrecorded bop band of 1943, and spent a few months in 1944 with Billy Eckstine's orchestra, leaving before that group made their first records. Gillespie was also in the Hines and Eckstine big bands, and the duo became a team starting in late 1944.

Although Charlie Parker recorded with Tiny Grimes' combo in 1944, it was his collaborations with Dizzy Gillespie in 1945 that startled the jazz world. To hear the two virtuosos play rapid unisons on such new songs as "Groovin' High," "Dizzy Atmosphere," "Shaw 'Nuff," "Salt Peanuts," and "Hot House," and then launch into fiery and unpredictable solos could be an upsetting experience for listeners much more familiar with Glenn Miller and Benny Goodman. Although the new music was evolutionary rather than revolutionary, the recording strike of 1943-1944 resulted in bebop arriving fully formed on records, seemingly out of nowhere.

Unfortunately, Charlie Parker was a heroin addict ever since he was a teenager, and some other musicians who idolized Bird foolishly took up drugs in the hope that it would elevate their playing to his level. When Gillespie and Parker (known as "Diz and Bird") traveled to Los Angeles and were met with a mixture of hostility and indifference (except by younger musicians who listened closely), they decided to return to New York. Impulsively, Parker cashed in his ticket, ended up staying in L.A., and, after some recordings and performances (including a classic version of "Oh, Lady Be Good" with Jazz at the Philharmonic), the lack of drugs (which he combated by drinking an excess of liquor) resulted in a mental breakdown and six months of confinement at the Camarillo State Hospital. Released in January 1947, Parker soon headed back to New York and engaged in some of the most rewarding playing of his career, leading a quintet that included Miles Davis, Duke Jordan, Tommy Potter, and Max Roach. Parker, who recorded simultaneously for the Savoy and Dial labels, was in peak form during the 1947-1951 period, visiting Europe in 1949 and 1950, and realizing a lifelong dream to record with strings starting in 1949 when he switched to Norman Granz's Verve label.

But Charlie Parker, due to his drug addiction and chance-taking personality, enjoyed playing with fire too much. In 1951, his cabaret license was revoked in New York (making it difficult for him to play in clubs) and he became increasingly unreliable. Although he could still play at his best when he was inspired (such as at the 1953 Massey Hall concert with Gillespie), Bird was heading downhill. In 1954, he twice attempted suicide before spending time in Bellevue. His health, shaken by a very full if brief life of excesses, gradually declined, and when he died in March 1955 at the age of 34, he could have passed for 64.

Charlie Parker, who was a legendary figure during his lifetime, has if anything grown in stature since his death. Virtually all of his studio recordings are available on CD along with a countless number of radio broadcasts and club appearances. Clint Eastwood put together a well-intentioned if simplified movie about aspects of his life (Bird). Parker's influence, after the rise of John Coltrane, has become more indirect than direct, but jazz would sound a great deal different if Charlie Parker had not existed. The phrase "Bird Lives" (which was scrawled as graffiti after his death) is still very true.
https://www.allmusic.com/artist/charlie-parker-mn0000211758#biography

///////

Biografía de Scott Yanow
Charlie Parker, uno de los pocos músicos de los que se puede decir que cambió permanentemente el jazz, fue posiblemente el mejor saxofonista de todos los tiempos. Podía tocar líneas notablemente rápidas que, si se reducían a la mitad de velocidad, revelarían que cada nota tenía sentido. "Bird", junto con sus contemporáneos Dizzy Gillespie y Bud Powell, es considerado uno de los fundadores del bebop; en realidad era un jugador intuitivo que simplemente se estaba expresando. En lugar de basar sus improvisaciones estrechamente en la melodía como se hacía en el swing, era un maestro de la improvisación de acordes, creando nuevas melodías que se basaban en la estructura de una canción. De hecho, Bird escribió varios estándares futuros (como "Anthropology", "Ornithology", "Scrapple from the Apple" y "Ko Ko", junto con números de blues como "Now s the Time" y "Parker's Mood") que "tomaron prestado" y modernizaron las estructuras de acordes de melodías más antiguas. La notable técnica de Parker, su sonido bastante original y su capacidad para crear frases armónicamente avanzadas que pudieran ser tanto lógicas como caprichosas fueron muy influyentes. Para 1950, era imposible tocar "jazz moderno" con credibilidad sin estudiar de cerca a Charlie Parker.

Nacido en Kansas City, Kansas, Charlie Parker creció en Kansas City, Missouri. Primero tocó el cuerno de barítono antes de cambiarse al alto. Parker estaba tan enamorado de la rica escena musical de Kansas City que abandonó la escuela cuando tenía 14 años, a pesar de que su maestría musical en ese momento era cuestionable (con sus ideas surgiendo más rápido de lo que sus dedos podían tocarlas). Después de algunas humillaciones en sesiones improvisadas, Bird trabajó duro como leñador durante un verano, desarrollando su técnica y dominio de los fundamentos. Para 1937, cuando se unió por primera vez a la Orquesta de Jay McShann, ya estaba muy lejos de convertirse en un actor importante.

Charlie Parker, quien fue influenciado desde el principio por Lester Young y el sonido de Buster Smith, visitó Nueva York por primera vez en 1939, trabajando como lavaplatos en un momento dado para poder escuchar tocar a Art Tatum todas las noches. Hizo su debut discográfico con Jay McShann en 1940, creando solos notables con un pequeño grupo de la orquesta de McShann en "Oh, Lady Be Good" y "Honeysuckle Rose"."Cuando la McShann big band llegó a Nueva York en 1941, Parker tenía solos cortos en algunos de sus discos de blues de estudio, y sus transmisiones con la orquesta impresionaron mucho (y a veces asustaron) a otros músicos que nunca antes habían escuchado sus ideas. Parker, que había conocido y tocado con Dizzy Gillespie por primera vez en 1940, tuvo un breve período con la banda de Noble Sissle en 1942, tocó tenor con la bop band de Earl Hines, lamentablemente sin grabar, de 1943, y pasó unos meses en 1944 con la orquesta de Billy Eckstine, abandonando antes de que ese grupo hiciera sus primeros discos. Gillespie también estuvo en las big bands de Hines y Eckstine, y el dúo se convirtió en un equipo a partir de finales de 1944.

Aunque Charlie Parker grabó con el combo de Tiny Grimes en 1944, fueron sus colaboraciones con Dizzy Gillespie en 1945 las que sorprendieron al mundo del jazz. Escuchar a los dos virtuosos tocar rápidos unísonos en canciones nuevas como "Groovin ' High", "Dizzy Atmosphere", "Shaw ' Nuff"," Salt Peanuts " y "Hot House", y luego lanzarse a solos ardientes e impredecibles podría ser una experiencia perturbadora para los oyentes mucho más familiarizados con Glenn Miller y Benny Goodman. Aunque la nueva música fue evolutiva en lugar de revolucionaria, la huelga discográfica de 1943-1944 resultó en que bebop llegara completamente formado en discos, aparentemente de la nada.

Desafortunadamente, Charlie Parker era un adicto a la heroína desde que era un adolescente, y algunos otros músicos que idolatraban a Bird tontamente tomaron drogas con la esperanza de que elevara su forma de tocar a su nivel. Cuando Gillespie y Parker (conocidos como "Diz y Bird") viajaron a Los Ángeles y se encontraron con una mezcla de hostilidad e indiferencia (excepto por músicos más jóvenes que escuchaban atentamente), decidieron regresar a Nueva York. Impulsivamente, Parker cobró su boleto, terminó quedándose en Los Ángeles y, después de algunas grabaciones y presentaciones (incluida una versión clásica de "Oh, Lady Be Good" con Jazz en la Filarmónica), la falta de drogas (que combatió bebiendo un exceso de licor) resultó en un colapso mental y seis meses de confinamiento en el Hospital Estatal de Camarillo. Lanzado en enero de 1947, Parker pronto regresó a Nueva York y participó en algunas de las interpretaciones más gratificantes de su carrera, liderando un quinteto que incluía a Miles Davis, Duke Jordan, Tommy Potter y Max Roach. Parker, que grabó simultáneamente para los sellos Savoy y Dial, estuvo en plena forma durante el período 1947-1951, visitó Europa en 1949 y 1950 y realizó el sueño de toda su vida de grabar con cuerdas a partir de 1949 cuando se cambió al sello Verve de Norman Granz.

Pero Charlie Parker, debido a su adicción a las drogas y su personalidad arriesgada, disfrutaba demasiado jugando con fuego. En 1951, su licencia de cabaret fue revocada en Nueva York (lo que le dificultaba tocar en clubes) y se volvió cada vez menos confiable. Aunque todavía podía tocar al máximo cuando estaba inspirado (como en el concierto de Massey Hall de 1953 con Gillespie), Bird se dirigía cuesta abajo. En 1954, intentó suicidarse dos veces antes de pasar un tiempo en Bellevue. Su salud, sacudida por una vida muy plena, aunque breve, de excesos, declinó gradualmente, y cuando murió en marzo de 1955 a la edad de 34 años, podría haber pasado por 64.

Charlie Parker, quien fue una figura legendaria durante su vida, ha crecido en estatura desde su muerte. Prácticamente todas sus grabaciones de estudio están disponibles en CD junto con un sinnúmero de transmisiones de radio y apariciones en clubes. Clint Eastwood armó una película bien intencionada, aunque simplificada, sobre aspectos de su vida (Bird). La influencia de Parker, tras el ascenso de John Coltrane, se ha vuelto más indirecta que directa, pero el jazz sonaría muy diferente si Charlie Parker no hubiera existido. La frase "Bird Lives" (que fue garabateada como graffiti después de su muerte) sigue siendo muy cierta.
https://www.allmusic.com/artist/charlie-parker-mn0000211758#biography


charlieparkermusic.com ...


Tracklist:
01 - Now's The Time - 3:04
02 - If I Should Lose You - 2:49
03 - Mango Mangue - 2:56
04 - Bloomdido - 3:27
05 - Star Eyes - 3:31
06 - Confirmation (master take) - 3:01
07 - My Little Suede Shoes - 3:07
08 - Just Friends - 3:33
09 - Lover Man - 3:24
10 - I Got Rhythm - 12:57
11 - Repetition - 3:00
12 - K.C. Blues - 3:27
13 - Relaxing With Lee (master take) - 2:49
14 - April In Paris - 3:09
15 - Okiedoke - 3:05
16 - The Song Is You - 2:57


Credits:
Charlie Parker (alto saxophone);
Jimmy Carroll (conductor, arranger);
Gene Johnson, Freddie Skerritt, Willie Smith (alto saxophone);
Jose Madera, Coleman Hawkins, Lester Young (tenor saxophone);
Leslie Johnakins (baritone saxophone);
Mario Bauza, Paquito Davilla, Bobby Woodlen, Dizzy Gillespie, Red Rodney, Buck Clayton, Miles Davis (trumpet);
Mitch Miller (oboe);
Bronislaw Gimpel, Max Hollander, Milt Lomask (violin);
Frank Brieff (viola);
Frank Miller (cello);
Myor Rosen (harp);
Al Haig, Stan Freeman, Rene Hernandez, Thelonious Monk, Hank Jones, Walter Bishop, Jr., John Lewis, Ken Kersey (piano);
Irving Ashby (guitar);
Percy Heath, Ray Brown, Roberto Rodriguez, Curly Russell, Teddy Kotick, Billy Hadnott (bass);
Max Roach, Buddy Rich, Roy Haynes, Kenny Clarke (drums);
Jose Mangual (bongo);
Luis Miranda (congas);
Umbaldo Nieto (timbale);
Machito (maracas);
Neal Hefti's Orchestra.

1992



MORE Charlie Parker ...





This file is intended only for preview!
I ask you to delete the file from your hard drive or device after reading it.
thank for the original uploader


 
Tip: Use JDownloader
 
 
 

No comments:

Post a Comment